Striking exhibit at the Hunter delves into the intersection of art and poetry "Art is the principle flowing out of God through certain men and women by which they perceive and understand beauty.

Sculpture, architecture, painting, and music are the languages of the spirit.” –Elliott Daingerfield At the beginning of this exhibit at the Hunter, “Seeking the Spiritual: The Visionary Art of Elliott Daingerfield,” my eyes were immediately drawn to the intense brush strokes and wash of blue in one particular nature scene.

A deep tempest of stormy waters emerges in many of his paintings during this time period.

By contrast, my gaze was also captured by the piercingly calm clear white moon reflected on the landscapes of the more reflective, serene paintings like A Fantasy (c. This exhibit features 48 paintings, pastels, and drawings created between 18 and depict nature, the sacred, and allegorical art, all of which Daingerfield believed were animated by divine forces that exist beyond the physical world.

He’d one day be one of the highest selling artists of his time, with The Genius of the Canyon bringing in $15,000 in 1920.

As for the beginning, Elliott Dangerfield was born on March 26, 1859 on the eve of the Civil War in Harper’s Ferry, Virginia.

At 21 years of age, he moved to New York City, where he worked for the rest of his career.

In 1884 Daingerfield began working with George Inness, a man whose art had been an influence in Daingerfield’s work.

Rejecting the demoralization of the human spirit he felt was inherent in the Industrial Age, he began exploring mystic symbolism in his imagery.

After the death of his first wife Roberta in 1891, Daingerfield’s works took a more pronounced turn towards transitions to the afterlife.

Contemporary commentators have reflected on Daingerfield’s ability “to grasp the spiritual significance of a scene and give it a worthwhile imaginative embodiment.” This viewpoint is masterfully demonstrated in the painting Daingerfield dedicated to his wife. 1893) catapulted Daingerfield into the realm of symbolist painters, whose works captured the artists’ inward visions about their physical realities, particularly individual experiences of the sacred.